VS 6 3 s> 






iLiSSA 



& fbnp&y, 



IN FIVE. ACTS, 



By NEVELLA feEORGIA 



CorvRiGHT 1877, by Neyell.v Georgia. 
Alt Rights Reserved, 



NEW YORK. 

J. Brown, Jr., Printer, 690 8th Avenue, below 44th St., N. Y. 

1877. 



OR&MATBS PlEISQNvE. 



Elissa, 


Princess of Tyre 


Belus, • 


- King of Tyre 


Pygmalion, 


- his Nephew 


Sich^eus, 


- King of Sardis 


Aminon, - 


a Noble of Sardis 


Ono, - 


a Noble of Tyre 



A priest, maidens, soldiers, guards. 



ELISSit\ 



& fe|J$% 



IN FIVE ACTS, 



By NEVELLA GEORGIA 






Copyright 1877, by Neyella Georgia. 



Ml E%fofs Resetted), 



OF CO/V^S 

■ 



NEW YORK. 
J. Brown, Jr., Printer, 690 8th Avenue, below 44th St., N. Y. 
1877. £\ 






f 






PREFACE. 

Before offering the following work to an indulgent public, I would 
say a few words in relation to it. The incidents are taken from the 
life of "Dido, Queen of Carthage,'' as she is popularly called. Her 
name, however, never was " Dido," except as far as a certain erron- 
eous belief has invested her with it. Neither did she found 
Carthage, as much research has proved. Her connection with 
" ^Eneas," the hero of Virgil's " iEneid," were certainly of a distant 
character, as she lived and died three hundred years before his 
birth. So much for the plot. In relation to the work itself, I would 
say that it was originally an opera libretto, and was dramatized, on 
consideration of the thought that it was thus presented in a more 
readable form, and might become more speedily successful. It cannot. 
be denied that all writers hope for success, nay, even expect it in some 
measure ; and although I do not claim such indulgence until after 
a careful consideration of the work in question, yet I leave this 
literary waif in your care, with sanguine hopes of its future 
career. 

THE AUTHOR. 



TMP92-009310 



ELISSA. 



ACT I. 

Whole court ot Belus assembled, Belus sitting on the throne 
with Elissa by his side Her five maids of honor grouped near 
her, Antiopa in advance ot the rest, Pygmalion atanding near 
Belus, and the nobles in rich clothing near him. Three or four 
pages in the room, and double row of soldiers extending from the 
throne chair around the stage. Low broad steps, three in number, 
lead up to the throne chair, which is of scarlet, trimmed and orna- 
mented with gold. The chair is surmounted by a canopy of 
scarlet, fringed with gold, and field in place by gilt poles. Belus 
is attired in a tight fitting vest of white, which is embroidered on 
the front with precious stones; also a white kirtle, trimmed with 
gold frings and embroidered on front the same as the vest. White 
sandals, bound on the foot with narrow purple ribbon, and a jewel 
in front where the ribbon crosses. A long train hangs from his 
shoulders. This is of purple velvet, lined with white and 
trimmed with gold fringe, and worked with gold on the back and 
around the edge. All the purple used in this costume must 
be of the rich, dark shade known as "royal purple." The 
sceptre consists of a gilt rod with a ball on the end, which is 
surmounted by an eagle with outstretched wings. Pygmalion is 
attired in a vest and kirtle of scarlet, trimmed with gold embroid- 
ery and fringe Tie wears a short, white mantle, fringed with gold ; 
also white sandals, bound on the ankle with scarlet ribbon. 
Elissa is dressed in a long, trailing robe of white silk, worked in 
front with an embroidery of jewels. She wears tight fitting sleeves, 
and over these long hanging ones, embroidered with gold. The 
robe is confined loosely at the waist by a jeweled girdle. A coronet 
of diamonds in her hair, and also in her ears diamond earrings. 
Her maids are all dressed alike in white robes, with gold girdles and 



O ELISSA. Act I 

gold bands in their hair. The soldiers are all attired in vests and 
kirtles of white edged with gold fringe. They wear helmets and 
breast plates, and carry shields and spears. Aminon is dressed in 
a vest and kirtle oi white, worked and fringed with gold. Pages 
are dressed in scarlet and gold. 

Scene I. 

Belus, turning uneasily in his chair. The day is grow- 
ing older with the passing moments as they wing their 
flight. The King must be within the borders of our 
rountry, My Lord Aminon, to the watch tower send, 
and bid the messenger look keenly toward the North 
{Aminon bows, ana" speaks to a page, who goes out ). 'Tis but 
a tardy lover thus to halt upon the way to wooing. 
Methinks if thou wert not a gentle maid he would fare 
but poorly in his welrome. 

Page returns and speaks to Aminon. 

Am. Oh, King, most mighty and all powerful, even 
now he saith a dusty cloud upriseth near the wood. 
The King is now at hand, and soon the heralds will their 
trumpets sound to warn his near approach. 

The sound of trumpets is heard, and the procession enters from 
right side of stage. First, two heralds with curved silver trumpets. 
Then half a dozen soldiers dressed in white vests and kirtles. 
fringed with silver and silver helmets, breast plates, shields and 
spears. After them the chariot. This a two- wheeled semi-ellipse, 
with no seat and no back. In front stands a charioteer, driving a 
pair of snow white mules with silver harness, and their heads or- 
namented with a long blue plume. The chariot is blue and silver. 
On each side of the chariot walk three lictors with fasces. Thev 
are dressed the same as the soldiers, only having no arms. A ser- 
vant holds a stiff blue cover over the head of Sich^eus. This cover 
is worked with silver and bordered with silver fringe. As 
Sich^eus comes in the Welcome March is played. After the 
chariot walk another six soldiers. The chariot stops in centre of 
stage and Sich^eits aliphts. His soldiers arrange themselves on the 
stage, in front of the Tyrians. as Belus advances to meet him. 
Sich^us is attired in a vest and kirtle of pale blue silk, embroid- 
ered and fringed with silver. A short fringed mantle of cloth of 
silver, and silver tights. White sandals bound on with pale blue 
narrow ribbon. 

Belus. My almost son, thou'rt welcome. For thy 
father's sake not only, but also for thy blue eyes like thy 
mother's [JSlissa rises] ; and thy own nature like a genial 
sun that flushes springtide flowers. Thy gentle 



Scene 1) ELISSA. 7 

mother's dead these many years [shakes his had]. Ah, 
me ! she was like a lily in a garden full of flowers. £o, 
so fair she was above all other women by her sweet, 
saintly spirit. Thy nature's like thy father's, so bold in 
love or war and brave in all. But there ! Forgive an 
old man's dreamings o'er the past. Once more, I say, 
thrice welcome. 

iSich. Thanks for thy kindly courtesy. Thy words re - 
cal the time so dear when I was but a child. Call them 
not dreamings, but the sweet incense that rises from our 
hearts to praise the dead. 

He looks at Elissa. 
But now the present more invites our quick attention 
than the past 

Belus, smiling. 80 like thy father with thy jesting hints. 
This is my only child, and the hope of my old age. Her 
name ? It is Elissa. It was her mother's, and a sweet 
one 'tis. Turns to Pygmalion. This is my brother's son, 
Pygmalion, left orphan when a babe ; he is a son to me. 

Sich^us is about to speak to Elissa, when Pygmalion, already 
jealous, rudely interrupts him. 

Pygmalion, meaningly. Allow me now, Oh, noble king, 
a moment's space. I will not greet thee as my uncle 
hath, but only say, in thy sojourning here, may'st thou 
find thy pleasure as thy deeds deserve. Eemember, in 
thine after hours, my greeting. 

Belus looks displeased at Pygmaliox, and frowns while Sicileus 
turns in surprise. 

Pygmalion must repeat this speech with a significant meaning, 
intended to convey his jealousy of Sioh^us and his fear that 
Elissa may return the affection of S. 

Sich. Eull strange thy words are. Lord Pygmalion. 
But as they are I take them, and thank thee for thy wish. 
As for my pleasure, I shall doubtless find it plenty. 
How can I fail when all combine to render me a wel- 
come guest. [He turns to Elissa.'] Princess Elissa, use 
thy sire's example. Welcome unto thy court of beauty 
a most unworthy subject, and yet a most obedient. 

Elissa, shyly. I cannot add unto his hearty greeting, 
yet I can say as he did. Welcome my lord, the King. 

Belus, annoyed at Pygmalion's rudeness, shortens the scene by 
saying: 

Belus. My Lord Aminon, we will now unto the banquet 



8 ELISSA. . (ACT I 

room repair. Do thou precede us, 

Sich. Princess Elissa, deign to favor me with thy fair 
hand. 

Before they move the scenes are shifted, showing a garden with 
a fountain. Also trees, shrubs, and flowers. Enter SiOH^jus and 
Elissa. 



Scene II. 

Sich, Nay, sweet Elissa, do not turn from me. Be- 
hold the lilies ! how each one leaneth towards his fair 
companion. The very leaves branch off in pairs from 
out the parent stem. [Pleadingly] Lift up thy flower- 
like face, and give an answer to my earnest plea. 

Elissa, shyly. What shall I say ? My love is as a sealed 
book unto my thoughts. Grant me a little space that 
I may see what words are graven on my heart for 
thee. 

Sich. And I will plead the while, and if it speak 
against me, then thou wilt not hear. [Tenderly ] Oh ! 
fair Elissa, sweet Elissa, dearer unto me than home or 
kingdom. What is my kingdom ? A bleak and lonely 
desert when thou art not near. The kingdom that I wish 
for is thy heart. Thy chaste and loving heart that holds 
the sweetest ties of earth within its depths. [Approach- 
ing her] Give me but thy sweet self, and I may be 
bereft of rank and kindred and care not. Lift up thy 
starry eyes, Oh, love ! and answer unto me. 
Elissa. My father's wish I must obey. 
Sich. He will consent. 
Elissa. How knowest thou ? 
Sich. He welcomed me. 

Elissa, Smihng and moving away. And so did I, And 
yet thou can'st not tell if I do love thee. Ah ! wise and 
yet so foolish is a man ; he speaks his love, and thinks 
a maid must quickly say, ,l I will be thine." 

Sich., following her. Jest as thou wilt ; thou hast 
already answered. Thy blushes give a sweet assent un- 
to my plea. Nay! turn not from me, [Embrace* her.] 
Tis no shame. Rather let me fold thee to my heart, 
there to find refuge from all storms of life. Be, Oh ' 
my love, the angel that will guide my very thoughts., 
swaying with one dear touch of her white hand, the 



SckXk II ELI88A 9 

heart that never yet knew fear. [Tenderly] My fair 
Elissa, say, but once T "I love thee." No sweeter 
music e'er will greet mine ear than that acknowledgment 
of thy affection. Lift up thy drooping head, oh, love, 
and answer unto me. 

Elissa, I love thee ! I love thee ! I will be thine 
forever. 

Sich. Thus, thro' life we'll joyful wander, bearing 
each the other's woes. No sorrow, not e'en death itself 
shall part us. My sweet Elissa, thy father will be fain 
to hear the happy issue of my wooing. We will unto 
his presence now repair. 

Exit Elissa and Swfaeus. 

Scene III. 

The throne room same as in first scene. Combined soldiers of 
SiCHaeus and Belus assembled. An arch of flowers on one side of 
the back. An altar of stone in centre of front, with wood on 
it. A priest with white robes on stands on one side of the 
altar. A page, holding two white doves, stands on the other side. 
Belus on throne, dressed the same as in iirst scene. Pygmalion, 
also dressed the same, stands apart from the rest, gazeing on with 
hatred and envy. The sound of singing is heard, and twelve young 
girls bearing green branches in their hands, and all attired in pure 
white, enter through the arch. Next follow four pages, bearing in 
their right (and left) hands four gilt poles, which support a white 
silk canopy, fringed with gold, and having long cord and tassels de- 
pending, which they carry in their other hands. Under this canopy 
walk Sichhbus and Elissa, hand in hand. Sicuseus is attired in a 
vest and kirtle of white silk, heavily embroidered and fringed with 
silver. A short mantle of silver cloth. On his head a wreath of 
white roses. Elissa is attired in a white satin, long trained robe, 
heavily worked with pearls on the front. The robe is fastened on 
the shoulders by a pearl button. By a button is meant a small 
cluster of pearls, somewhat like a bveast-pin of modern times. The 
robe, of course, has no sleeves. Bracelets, armlets, and ear- 
rings of large pearls are worn.. Over the head is thrown a large 
piece of white silk tissue or illusion. This covers the face and also 
is large enough to form a train at the back. On the top of this veil 
is placed a wreath of white roses. The girls arrange themselves on 
the stage in front of the soldiers, and the couple move forward to the 
front of the altar. The pages retire with the canopy to the left of 
stage. The priest extends his arms above the altar for a moment in 
silence, and then he raises a cake of white, spongy make from the 
altar, and, breaking it, offers a piece to Sicnasus and Elissa, with 
the words : 

Prikst, solemnly looking upwards. Look down, Oh, 



10 F/LISSA. f Act II 

Athor! on thy children now. Grant that their lives 
may flow as peaceful as the shining hours that float with 
gemmed wings o'er this dark earth. 

By this time they have eaten the cake, and the priest, taking the 
doves, wrings their necks, and laying them on the altar, fires the 
wood. As the smoke arises, the lights on the stage must be low- 
ered, and all kneel, with the exception of the priest. A white 
cushion having been previously placed before the altar for the ac- 
commodation of SiCHaeus and Elissa. While they arc kneeling, 
the priest raises his arms above the heads of 8icHa?us and Elissa, 
and says: 

Priest. Reveal thyself unto thy humble worshipers. 
Let us behold thee now, thou goddess of our ancient 
faith, according to thy gracious promises. 

As the curtain descends, their appears, at the back of the stage 
a apirit in white, and bearing in her hand a horn of plenty. On 
her head a narrow circle of gold, and bearing in the front a cres- 
cent. A strong light accompanies the appearance. 

ACT II. 

Scene I. 

An open court such as is usually found in the centre of eastern 
houses. The pavement is of mosaic, and in the centre is a fountain 
surrounded by a basin. Around the court are tinted pillars, and 
under the pillars are seen doors, which lead into rooms. Above 
the pillars is a broad balcony, and other rooms open on it by means 
of windows. Around the court are shrubs and flowers. 

[Enter Pygmalion.'] 
Pygmalion, excitedly. Revenge ! Revenge ! my soul cries 
out. and will not be appeased. My love is turned to 
madness. My fury will devour him. I am pursued by 
demons until I seek him to destroy him. The thought 
does calm me and allays my rage. [mournful ly^Eih- 
issa ! Elissa ! and thou art now another's, [furiously'] 
Another's ! The word inflames the madness once more 
within my heart. [Suddenly pauses as Sichmis appears on 
back of the stage] Ha ! who cometh here ! 'Tis lie, 'tis he ! 
her lover. I have him in my power. My brain whirls 
round with fury. I'll hide behind this pillar, and when 
the fateful time arrives, rush out upon him. 

He hides, and Sichjeus advances down the stage, glancing cur- 
iously around. 

Sic. Tis but an instant since I saw a form and heard 



SCBNE I) ELISSA 11 

a voice, and now 'tis gone. Ah ! well ! it matters not 
Perhaps it was a page on message for Elissa. How 
turn my thoughts to her with every hour. The sun ap- 
pears and sets, and still I think of her. So sweet she is ! 
So dainty fair ! A rare and radiant flower among all 
womanhood. 

Antiopa comes out on the gallery, and looks over into the court. 
At the same time, Pygmalion rushes out from behind the pillar and 
stabs SiCH.fcCK in the back. Sicii^us falls and Pygmalion fright- 
ened at his misdeed, gazes stupidly at him. Sigh^us raising him- 
self on his arm, says : 

Sich. Why hast thou done this ? What fury 
prompted thee thus to destroy thy fellow man ? 

Pygmalion, recovering, and speaking exultantly. No 
more my sight shall be inflamed by thy thrice hated 
form. Listen, and hear as thy last sound on earth, 
Elissa shall be mine. 

Sichceus falls back with weakness. 

Sich.. faintly. I am near death, and soon shall be no 
more, yet do I say, thy wish thou'lt never gain. 
He half rises and speaks louder. 

Though 
the grave shall part us and a host conspire, yet is Elissa 
mine. Mine through eternity ; and dost thou think to 
sever us ? [triumphantly] Fool ! thy labor is in vain. 
Through death and through the grave, Elissa still is 
mine. 

He falls back and dies. Pygmalion, who has been affected 
by fear, during his words, now gazes at him in doubt and con- 
fusion. 

Pyg., fearfully. How spoke he then! So bold and 
certain ! It made my heart to falter < looks around and 
stands erect). Courage ! thou'rt not a child ! Stir up thy 
heart with memory of thy wrongs. So ! and he is dead 
( bends over and looks at Sichceus). See ! on his face a 
smile as if to mock me {bends over and looks at Sichceus). I 
could slay him yet again for his last words. But she 
shall be mine. I'll get the people in my grasp. They 
like me well. I'll stir them to rebellion. And when 
my cousin finds she is alone and helpless, she will yield. 
[scornfully] What is the King ? A trembling, weak old 
man. A burden on her, who would wring his hands, 



12 ELISSA. f Act n 

and could do naught. But I now must go to further 
out my plans, [going'] Farewell, thou hated carrion. 
E'en in thy death. I cast it back at thee : Elissa shall 
be mine, [conies hach]Q\xt stay ! I'll drag thy body 
hither where 'twill be out of vision. 

He drags the body of SiCHasus behind a pillar. As he does so 
Antiopa disappears. 

There lie till all do 
rise. Yet once again I say, she shall be mine. 

Exit Pygmalion. 

Scene II. 

A room in the palace, three or four of the ancient reclining 
benches, with one arm or pillow, not unlike a modern louuge. On 
the walls are pictured panels, and also around the room are statues. 
Three or four ottomans and couple of embroidered screens on gilt 
poles, and showing warlike deeds, are around the room. 
Enter Lord Ono, the High Chamberlain. 

Oso[walking thoaghtfully up and down]. I like not Lord 
Pygmalion's glances at our lovely Princess. He 
hateth now where he did love before. And yet. me- 
thinketh she is far too sweet to hate for any cause. 
When the times arrives that she shall say " farewell," 
and from our hearts will draw the bitter tear, she will 
be loath to go. Then will she say : '' Father, let be ! 
I cannot leave thee thus." She is so loving, and of 
tender spirit. Our Lord Pygmalion should have sought 
her hand before this strange King wooed her. He* might 
have won her. for she liked him well, and would have 
answered " yes" before she wounded him. But she 
turned to Lord SiCHseus, and her soul reposeth in his 
smile. May he live long to bless her loving heart. 

Antiopa enters in a hurried and agitated manner, and Lord Ono 
turns and gazes at her in surprise. 

Ono. Why so fleet of footstep, Lady Antiopa ? Art 
thou on love's own message, that thou speedest so ? 

Ant. My Lord ; mine eyes have just beheld a cruel 
sight. Jest not so, but listen now to me. Lord Ptg- 
malion hath but just now murdered the bravest and the 
noblest of mankind. Ah, me ! What will she do ? My 
tender, gentle princess. 



SornkII) ELISSA 13 

Qso[earne8tly~\. 'Tis not the king ! He would not 
harm the King, who loves him as a fond parent 
might. 

Ant. No ! 'tis not the king, but 'tis a king who ruleth 
more than he. Who ruleth o'er a loving, tender heart, 
which needs must break with such a load of woe. 'Tis 
Lord SiCHoeus ! He who was the star of morning and 
the glowing sun to her who treasured him. [sorrowfully 
She loved him so ! He was her earthly all, and he is 
gone. And yet that is not all. Lord Pygmalion pur- 
poseth to stir the people to rebellion, and he is deep and 
crafty ! My lovely princess ! She must fly ! She can- 
not here abide to brave the fury of the multitude [help- 
ta/yjWhere can she fly ? 

Oxo\afler a slight pause]. She must repair to Sardis 
and there await the issue of the times. Thou wilt go 
with her and the king, and I will also go. She must be 
welcomed in her husband's land, but lest she be not, 
I must take with me the jewels of the kingdom ; they 
will suffice for maintenance, and haply we will come 
again, when dieth this usurper, unto this happy, fruitful 
land. [tenderly ]Weej> not so, fair Antiopa, we will re- 
turn. 

Ant. [weeping]. My heart is heavy for her sorrow. 
And he was noble, brave, and kind. So fair of form 
and countenance, and tender as a child. Ah ! If she 
die not, she will never smile again. 

Ono. Ah ! no, she will not die. Why lives the tree 
after it stands alone and stripped of all its glory ? 'Tis 
the will of the Gods. The heart that breaketh suffers 
dumbly, and the scarcely touched it is that babbles forth 
its grief in empty words. But now the time is fleeting, 
and we must away. I will procure the jewels, and 
thou must prepare the princess. Linger not, Antiopa ! 
Hasten thee ! 

They go out in opposite directions. The scenes open, showing 
Elissa at work on a piece of embroidery, in her private room. The 
room is an octagonal one, and is furnished with black and gold. The 
wood is dark and is surrounded by narrow gilt mouldings. The 
furniture is black and gold. The room is ornamented with several 
statues in black-lined niches, and among them is Mercury. Elissa 
sits in centre of stage, on a bench, with two broad legs, and wears 
a scarlet petticoat, over which opens a black velvet train. The 



14 ELISSA. (ACT III 

waist is black, but is opened to show a scarlet vest underneath. 
The hanging sleeves are black, and tight scarlet ones are worn 
underneath a scarlet girdle. 

Elissa. All, me! I fear 'twill not endure. Such bliss 
is not for earth, A nd yet it must. I ever feared an 
unknown sorrow, and yet, in all my happy life it hath not 
come. 
Antiopa enters slowly and sadly. Elissa turns. 

Elissa. What grieveth thee, my Antiopa ? Thou 
art so sad, and now thy tears begin to start. 
Goes to her 

Why art thou 
thus? Thou makest also now my eyelids to o'erflow till 
I must weep for very sympathy. Thou wilt not speak ? 
Is, then, thy sorrow felt so deep that 'twill not e'en re- 
veal itself in words ? Confide in me, and let me bear 
a portion of thy grief. 

Antiopa[m<%]. My Princess and my friend, gird 
now thyself for trial. Keep up thy heart, and all will 
yet be well. Time presses and we must away. So must 
I tell thee rudely all my grief, that is no sooner told, than 
'twill be thine. Thy cousin, Lord Pygmalion, hath but 
just now slain thy noble lord; and more, he purpose th 
to stir the people to revolt So thou must fly ; thou and 
the king. I will also go, and Lord Ono. [mtreatingly 
Look not forward so with stony stare ! Speak to me if 
only now to say : '* I am a- weary of my life." 

1&i>T3>&K[recovering\ Unsay those dreadful words. It 
cannot be. Sicnaaus is not dead. What am I saying; ? 
No ! he is not dead. Thou hast been dreaming, An- 
tiopa. 

Ant..[s0^%1 Believe me, darling princess. I was a 
witness to the murder even now. When Lord Pygmalion 
left the king, 1 went to him, but he was still and cold. 
The deed was surely done. 

Elista. My heart is dead within me. A thousand 
dreadful shapes before mine eyes do float. 

Ant. Cheer thee, my darling ! It will not be for 
long that thou must roam a wanderer from thy land. 
Nay! Hold not back thy tears ! Give them free vent. 
'Twill ease thy aching heart. I do grieve me sore at 
murder of thy noble lord. Poor, unhappy bride ! That 



SCBNE I) ELISSA 15 

he should leave thee thus to battle with a fierce world's 
strife. Ah! sob not so ! Vengeance is due him and 
'twill surely come. 

Elissa starts from AntiopaU embrace, and raising her 
hands to heaven. Hear me, ye Gods, that in the heavens 
do reign. Look down with pity on my helpless head. 
On this foul slayer, let thy just wrath fall and crush him 
earthward, ne'er to rise pgain. [ To Antiopa]Go thou ! 
Prepare the King ! I will disguise myself and follow 
thee. 

Antiopa retires and Elissa continues: 

JZlissaI passionately]. SiCBseus, my noble husband, thou 
hast left me ! Thou art dead. Dead in thy health and 
manhood. Look down upon me from thy glorious home, 
and guide my footsteps in an unknown land. My love ! 
Be near me and protect. Home of my childhood, 
farewell ! Ye happy groves and bowers, how bright 
with joyous hues art thou, when I with tears must leave 
thee. Thus bid a last adieu to all my happiness npon 
this weary earth. [UntreatinglyJUovf shall I live, bereft 
of thy dear presence ! my love, my noble lord ! Why 
am I left to languish thus in woe ? Stoop from thy 
blessed home and let me see thee once again. Then may 
I say u Adieu " with less of anguish. [Inquiring li/]Thou 
wilt not ? Ah ! thou can'st not ! Then must I now in- 
deed bid thee farewell ! farewell ! 

Faints. 



ACT III. 

Scene I. 

A room in the palace at Sardis, whither the king and his daughter, 
together with Antiopa, Lord Ono, and a few nobles, fled after the 
events of the previous act. Elissa wears the stola, an ample, loose 
garment, gathered at the neck and reaching to the feet. It is con- 
fined around the waist by a narrow girdle. The stola must be 
black in color, and of fine texture. The garment is fastened on 
the shoulders by a fibula, and the sleeves are either long or short. 
If short, they are joined half way down by a fibula. If long, 
they are open hanging sleeves, and are narrowed to a point. In 
the room are blue and silver furniture of an antique character. 
Belus wears the Roman toga. This is of black woolen goods, 



16 ELISSA. fACT HI 

and passes over the left shoulder and under the right arm, leaving 
the right arm free. It is sewn together from the waist down. 

Belits. Knowest thou how prospereth my kingdom 
since we fled? 

Elissa. The people now are quiet, but a rumor saith 
they love not Lord Pygmalion. He ruleth more as one 
who hath the crown than one who hopeth for it. 

Beltjs, Elissa ! he will never wear the crown. Pe- 
twixt him and the longed for prize there rushes fast the 
river of vengeance. Nay ! do not weep. I did think 
I should have wounded thee. Fain would I mingle 
with thy piteous tears the anguish of mine own. 

Elissa. Ah ! From my heart the icy grief ne'er 
melts. Would that mine eyes were rivers, that I might 
feel the luxury of tears. I cannot weep ; and oft, me- 
thinks, this aching heart must break. When I remem- 
ber {raising her hands) — Pity me, ye Gods, and send 
relief. Banish the memory of my woe (despairingly) 
Let me forget my happier days, lest I go mad and curse 

ye. 

Belus. Elissa, child beloved ! I^peak not so, lest 
from the heavens there quick des3end Jove's fiery bolts 
to wither thee in wrath. Restrain thy grief! "lis past ! 
'Twill ne'er return ! Confine thy thoughts unto the 
present and to me. Remember my affection for thee. 
[sorrowfully ] Alas ! I am alone and helpless but for 
thee. 

Fii,i$sk[emhraci?ig him]. Am I indeed so selfish that I 
have forgotten thee ? Ah, no ! 'twas but a sudden burst 
of sorrow. Well do I know thy sweet, fond love, that 
from every ill hath sheltered me since first I oped 
mine eyes. Forgive me now, and 'twill no more 
offend. 

Belus[ fondly]. Thy wrongs to me must be far greater 
yet, ere I can not forgive thee. But now there 
cometh Lord Aminon, and his countenance portenteth 
ill. 

[Enter Aminon.] 

Am. My Princess, Lord Pygmalion hath approached 
the gates with many thousand men. His herald is 
without, and hath proclaimed his message. 



Scene II) ELISSA. 17 

Elissa. What saith he ? 

Am. He demands the surrender of the city and thy 
return to Tyre. 

Elissa. He is not bold, indeed! What say the 
nobles ? 

Am. They have refused him both. They now en- 
treat thee to accept the crown, and be their queen. They 
will enrol themselves as thy subjects and perish for thy 
favor. 

Elissa. They do me honor and I feel it so. Convey 
to them my acceptance of their gift. We will to war to- 
morrow. Send out upon the ramparts a herald to pro- 
claim it so. Place now upon the barriers the guards, 
and close the city gates. We will with you to prove our 
royal will. 

Elissa and Aminon retire. 

Belus. Grant, oh Isis, that thy son may have the favor 
of thy smile. Leave not thy children in a cloud of grief. 
Oh. Osiris, thou god of mystery, reveal thy power. Ex- 
tend o'er me thy mighty love in pit} for my sorrow. 
Hurl from his lofty seat this treacherous foe, and give 
me through my pain the victory. 

Exit Belus. 



Scene II. 

The camp of Pygmalion, which is at some distance from the 
city of Sardis, which is seen in the far background. Nearer are 
the tents of the army. These are white and round, being dome- 
shaped. The camp is pitched in a quadrangular form. Enter Pyg- 
malion, attired in a kirtle of scarlet silk, edged with gold fringe. A 
coat of mail formed of plates of brass everlaying each other like 
the scales of a fish. It covers the shoulders, but not all the arm, 
and is only made to reach below the waist a couple of inches. This 
consists of two parts, and is fastened together at the sides. Over 
the right shoulder, and under the left arm passes a broad scarlet 
band, which holds a short, thick sword, in a richly ornamented 
scabbard. On his head is a helmet, ornamented with a crest. On 
his legs are greaves, and in his hand a bow and richly ornamented 
quiver of arrows. 

Pyg. \ivalhing slowly in\ Even now my heart misgives 
me at the issue of my fate, for if I conquer not, how 
shall I live ? To go before her presence, and to know 



18 ELISSA. (ACT III 

that I am thus defeated ? Never, while I have life to 
raise mine arm! [passionately] Rather would I die, struck 
to the heart by fleeting arrow, than to live on and wither 
by the knowledge of her scorn. [tnournfulli/)A.nd. yet I 
loved her so ! With love that scarce could bear her from 
my sight. But when there came between us yet a more 
beloved in her heart, I was as one assailed by sudden 
madness. And there arose such fury in my breast that 
I could e'en have slain her, too. Upon my heart there 
lieth sore a load of grief, in that she loves me not. 
Were she but mine, all sorrow then were naught. The 
stars might fade and e'en the sun be blotted out, yet 
would I have my heaven in her smile. Her eyes would 
give me light whereby to read her love, and that were 
all I wish. But 'tis in vain! With my own hand have I 
destroyed my happiness and can no more upon her lovely 
face e'er gaze. Slow would she turn with lissome, state- 
ly grace, and in her eyes would shadow fast the darkening 
sorrow of her great despair. Why did she love him so ? 
He was no kin to her. I, who had loved her since my 
boyhood's happy days, I was naught when once her 
eyes beheld this stranger. Unhappy, fateful day, when 
first he entered Tyre! I was but puppet in the hands oi 
destiny. It seeraeth even yet like unto a horrid dream 
from which I cannot wake. His last words soundeth 
now upon mine ears. 

Looks around. 

Ah! thou ghastly spectre ! 
wherefore troublest me ? Art thou not dead ? Or hast 
thou risen from the gloomy tomb to haunt my life? 
Depart from me lest I destroy myself. 

He retreats and raises his hands. Stops. 

Why should I fear ? 
Am I not armed ? If thou be man, as I believe thou 
art, thou'lt trouble me no more. 

Fixes an arrow, and shoots it. Continues horrified, 

Sweet heaven, have 
mercy, it wounds him not, but passes through his form 
as through the air. [tiz7<% JDepart ! Depart ! Thou 
hast avenged thyself thricefold. (£>?£<?/«) Have pity now 
upon me and from out my sight evanish. 

Shouts in fear. 
Approach me not ! Ah ! wilt thou ne'er depart? Must 



SCENR III) ELIS8A. 19 

I forever see thee at my side ? [after a pause looks up and 
speaks, hiding his face in his hands] Now 'tis gone, and yet 
it will return, [rwsjlt cometh in the darksome night when 
I am wrapped in restless slumber, and looks upon me till 
I ope mine eyes, that it may gaze into the deep recesses 
of my brain. There doth it print its horrid ghastly 
form in vengeance dire. There is it ever present with 
me, and when I see it not, methinks I see it still. If I 
were dead, would it still haunt me ? Mayhap the still 
solemnity of death would bar it out. Or would it dare 
the silence of the grave, and peer into my sightless eyes, 
until it forced my spirit back from sweet Elysium ? 

Enter an officer. 

Officer. My lord, the army now awaiteth thy com- 
mands. 

Pyg. 'Tis well; bid them array themselves in battle 
line, and I will now decide the order of attack. Send to 
my tent the captain of the host. Speed thee ! Away ! 

They go out on opposite sides. 



Scene III. 

The scene is an open plain before the city of Sardis. The walls 
of the city are high, with towers rising above the general level, and 
Elissa with her father and a couple of pages looking over on the 
plain below. On the opening of the scene, the entire army of Pyg- 
malion enter at the left wing, and arrange themselves in parallel 
lines across the stage, from front to rear. At the same time the 
gates of i he city are thrown open, and Elissa's troops come out 
two at a time. They all carry spears over their shoulders, and their 
shields on their left arms. ' They arrange themselves on the right 
side in a similar manner. They all march in to the music of flutes, 
playing a martial air. When the armies are all arranged, Pygmal- 
ion enters on the left, surrounded by a body guard of fifteen, 
dressed in the usual costume of the army, but wearing short scarlet 
cloaks. He takes a position on the extreme left, near the foot- 
lights. There is a moment's silence as the music ceases, and then, 
with a sumultaneous movement, the soldiers, all but those in the 
front ranks, lower their spears until they rest on the shoulders of 
their comrades in front of them, thus forming an almost impene- 
trable barrier. Immediately afterwards a priest enters through the 
gates of Sardis, and throws two lighted torches into the space be- 
tween the two armies. With a loud shout of (Alale) pronounced 
(Ah-lah-lav) the two armies approach each other, and then retiring 
for an instant, as if to gain strength for the coming encounter, they 



20 ELISSA. (Act IV 

throw themselves upon each other m deadly fight. Pygmalion re- 
mains for a short time an inert spectator, and then, finding that his 
foes are apparently gaining the ascendancy, he throws himself, with 
his bodyguard, into the thickest of the combat. Seeing this, the 
opposite party, being anxious to deprive theTyrians of a leader, en- 
deavor to surround and capture him. But his guard quickly form 
a wall ot spears around him, by the outside ones kneeling and the 
next slightly stooping, while those next him remain in an upright 
position, and thus present an impassable barrier. But the six or 
eight who have determined on his capture or death, are not thus 
easily defeated. The foremost one kneels, and a companion leaping 
on his shoulders pierces Pygmalion in the neck with his spear. All 
this time the battle is continued on the rest of the stage. When 
the Tyrians see their leader fall, they are terrified and their ranks 
are broken through. Their foes rush at them witb loud shouts, and 
in the confusion the curtain descends. 



ACT IV. 

SCEITE I. 

The same scene before the gates of Sardis. The dead and 
wounded lying around the stage. On the left, Elissa and her 
father and a few nobles. Her soldiers gathered near her, resting on 
their spears. The Tyrians are gathered by themselves on the right 
side of the stage. The nobility among them advance first to the 
centre of the stage, and stack their spears. Then casting their 
shields on the ground, they throw their helmets, battle axes, 
greaves, etc. on a pile. This done, the foot soldiers follow their 
example, and then the principal noble, Lord Aminon, advances to 
Elissa, and kneeling on one knee before her says : 

My noble princess, thus do I pledge to thee my sure al- 
legiance. Not only for myself, but my companions, do I 
speak. Look on us now with favor as thy humble sub- 
jects, and cast from out thy mind the memory of our 
most presumptuous act. 

Elissa [touching him on the shoulder']. Arise, and serve 
us well in that far future, down whose waves shall float 
no doubt of thy allegiance in our mind. Yet rise not 
as thou knelt; thy humble love does surely claim reward. 
Arise, one of the ' : Council of Five." 
Turning toward them. 

And these, thy 
comrades on this battle ground, are hereby pardoned 
freely by our royal will. 

She goes toward them, at which they kneel. 



Scene II) ELISSA. 21 

They occupy once more their former state. 

She looks at a small party of nobles. 

And ye, my 
lords, advance, and now receive our royal hand in token 
of forgiveness. 

They advance, and, one by one, they kiss her hand, the scene 
shifting as they do so. 



Scene II. 

A room in the palace at Sardis, the same as in the First Scene 
of Act Third. Enter Elissa and her father. 

Beltts. My daughter, was it wisely done, that thou 
hast thus so freely pardoned all my most rebellious sub- 
jects ? 

Elissa. My royal father, in their eyes did I behold 
their keen desire for a full forgiveness. And now, me- 
thinks, we need not fear another such rebellion. I)idst 
thou observe how willingly they cast their armor down ? 
They ever followed Lord Pygmalion's standard with re- 
luctant hearts. 

Belus. No ! He was not one who would inspire affec- 
tion in the people's hearts. He was so haughty and of 
cold demeanor. Not so was I ! No more endearing 
task than to soothe my people's woes, — to cherish and 
protect their welfare as it were mine own. Ah, me ! 
The change, indeed, was great to be thus suddenly and 
swiftly cast from out my home. 

~EtiissA.[puttw(/ out her hand]. Ah ! speak no more ! 
The misery is deep engraven on my heart in characters 
of woe. 

Holding up her hands. 

My love ! SicBseus, would I were with thee. 
How can I live, in this cold, dreary world, without thy 
loving presence near! My heart is dead; bereft of 
every hope. Yet I live on and feel the burden of my 
grief grow heavier, day by day. [wtft%]Help me in 
mercy, oh, my loving sire. 

She turns to Belus. 

Put close thy loving arms 
around me in affection, and let me feel the sweet em- 



22 ELISSA. ■ (Act IV 

braces of thy love, lest from the earth my spirit quickly 
fly to find a refuge in its heavenly home. 
She hides her face. 

Belus. Elissa ! Only comfort of mine trembling 
age, restrain the violence of thy great despair ! SicHseus 
lives anew in sweet Elysium, and wouldst thou call him 
back from happiness ? Thy spirit chafes at the decree 
that separates thee from thy love. Remember ! that de- 
cree is from the Gods, and naught ran move it. No 
human aid can now avail to blot out the dread past. 
[tenderly]! ^t not thy sad heart turn from me, mine only 
child. Let now my pleading words find entrance in that 
weary heart of thine, there to give comforting assurance 
of my love. 

Elissa. I have been weak, and thought not of thy 
sorrow. Well did I know thou loved him e'en as I. 
Forgive me now, and love me once again. 

Belxts. Yet would I love thee if thy sore offence were 
as high as mountains and as wide as seas. Art thou 
not the younger but not lovelier counterpart of my dear 
queen, who long since passed away. My grief was 
e'en as thine, and knew no comfort. I would have slain 
myself but for thee, thou little helpless creature, that 
gazed at me with thy dear mother's eyes, calling me 
back unto myself and to my duty. Thus hast thou be- 
guiled me from my sorrows, e'en from thy babyhood un- 
to the present day. Nor can I yet believe that thou 
wilt fail me in my time of need. 

Leading her off. 

Come thou with me and 
let me soothe thy wounded heart with sweet affection. 

Scene III. 

The gates of Tyre in the extreme background. In front of them 
narrow ornamented doors leading in the houses. These are 
double doors. A few steps lead up to the doors. The houses are 
ornamented with garlands of green and the standard of Belus is 
displayed in many places. This consists of a scarlet banner with a 
gold trident on it. The people are around by their doors and on the 
roofs of the houses. First, through the gates, come SiCHseus-s army 
in blue and silver, as many as can be got, They enter, two by 
two, and separating, the entire line perform a difficult interlacing figure 



Scene I) ELIS8A. 23 

to the march. After them enters the low car containing Eltssa and 
Belus, and a dozen nobles for a guard, six on each side. This car 
etops just within the doorway, and the entire army of Belus in 
scarlet and gold, enter, two by two, the same as the others, and 
separating, the two armies mingle in difficult interlacing figures, 
until nothing can be distinguished but a brilliant mass of color, in 
the midst of which the curtain descends. 



ACT V. 

Scene I. 

A room in the palace at Tyre, the same as the second scene of 
Act Second. Enter Elissa and her father. 

Belus. My daughter. King Hiarbas hath this day be- 
sought of me thy own sweet self. 

"EiiB8Al8tarthd]. What didst thou say, my lord ? 

Belus. He hath my favor, and I like him much. He 
loveth thee, and he will ever do thy lightest wish. 
Thou wilt be happy. Thou wilt reign o'er Mauritania's 
fair land. What sayest thou ? 

~EiissA[pkadm(/Iy]. I love him not. My heart would 
not accept him as its lord. {weeping) What did I say? 
My heart ! Alas ! I have no heart, for it is dead long 
since, and in its place, there is a thing that beats and 
throbs with pain. But 'tis no heart. Ah, no ! My 
heart is with SiCHseus, 

Falls on her knees. 

My king and father, look on me 
with love. Cast not from out thy heart thy weeping 
child. Send not my fond affection from thee. Let me 
remain with thee and lift thy cares with loving tender- 
ness. 

BEiTJ$($ternly, lifting her). Not so, my child, not so. 
The people do demand that thou shalt wed. My time is 
short before the summons come. Then shall I leave 
thee. Now, before I go, grant my desire. If thou re- 
fuse, how shall I bear the fury of my people ? Then 
«hall I be an outcast yet again, and naught can help 
me. And thou ! What wilt thou do ? A tender flower 
amid the howling storm. Even in thy new found king- 
dom thou can'st not abide, for when thou witherest, as 
rose upon the stem, who will succeed thee. Then will 



24 ELISSA. (A.CTV 

thy people be dissevered with internal wars, and they 
will curse thee that thou hast not wed. Ah, no ! Give 
o'er thy grief, and wed this noble king. Reign o'er his 
kingdom and his loving heart. I have entreated thee. 
Must I command thee now to yield ? 
With dignity. 

I speak to thee as 
father and as king. Grant my desire. 

~Ei,issA\Jiolding her hands to him]. Oh ! speak not so. 
My heart is heavy with its load of grief. Love mo 
again as thou hast loved before, and I will grant thy 
wish. Turn not from me. Give me thy fond affection 
yet again, and let it cheer my heart so desolate. 

~BELVs[embracing her]. Grieve not« I love thee still. 
Yet do I much desire that thou shouldst wed. 

Elissa. Grant me but this. I now would offer up 
unto my dearest lord a sacrifice before I wed again. 
'Twill soothe my sad heart, and my grief allay. 

Belus. Thou shalt ! When wouldst thou this ? 

Elissa. This night. 

Belus. It shall be so ! And then prepare thyself for 
King Hiarbas. Thou must be his before another cres- 
cent in the heav'n shall shine. 

Going . 

Elissa. And I must be alone. Command it so. 

Belus. Thou hast my word. 

Exit, 

Elissa [going after him, and walking back toward the op- 
posite side] And have I looked my last on that dear face ? 
Shall I behold thee ne'er again ? Ah, yes ! in fairer 
worlds than this shall I embrace thee. Now, until then, 
farewell, farewell ! 

Exit. 



Scene II. 

An open place among trees. Slaves bringing in huge fagots to 
build an altar. They are working in a dim twilight. As the altar 
is finished, Elissa enters at left wing. 

Elissa. Is't finished ? Leave me now, and on my 
sacrifice intrude not. 

They all retire. 



Scene II) ELISSA. 25 

ELissA,[*fa»<ft'wy by altar]. Now into my heart flows 
greater love for thee, my heart's dear lord. Oh, Isis! 
heavenly goddess, reward my deep devotion. Judge me 
with mercy, Osiris, and Horus, silent angel, convey my 
soul in love across the gloomy river, SiCHaeus, let me 
feel thy sweet affection near. 

She fires the pile. 

Now swifter flows the 
warm blood through my veins, at sight of this, my por- 
tal of escape. Creep on, creep on, ye flames, and let 
me feel your hot touch on my throbbing flesh. 

The flames must be seen rising above the altar, and must be the 
only light on the stage. At this point she casts herself on the 
pile. 

Once more, oh Horus, listen to my cry ! Guide my 
escaping soul, and let it reach the silent temple where 
Osiris reigns. SiCHseus, thou art near. I feel thy loving 
presence in the air. For love's dear sake I die, and 
soon shall meet thee, dearest of my heart. My breath 
grows shorter, and my senses fail. 

All this time the flames grow brighter. 

The world is fading, 
and near me, now, I hear the voices of th' immortal 
gods. They call me, and I fly from this dark, weary 
world. 

She rises up on one arm. 
Behold ! I see thee, idol of my soul, and now 
thou greetest me with loving smile and beckoning em- 
braces. SiCHseus, love ! I come. 

She falls back and the curtain descends . 



FINIS. 



